It really is all in that final sunset – that perfect symbol of a series resigning itself to its own arrested development. The enduring image of Luke gazing at the twin suns of Tatooine slipping beneath the horizon, dreaming of the worlds that lie beyond, turns into Rey adopting the Skywalker name and returning Luke's lightsaber back to square one, for no clear narrative or emotional reason, in a desperate attempt on the part of the filmmakers and producers to…
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We, the Inheritors 2024
"We're inheriting the 20th century."
Between this, My Old Man, and maybe even something like Brunaupark, it feels like I should be worried about the Swiss documentary scene getting stuck in the creative swamp of Millennials and Gen Xers making films about their parents and/or their generations and using them as vehicles for pondering the ways in which their own hopes, dreams, and life plans are necessarily different, conditioned as they are by the end of the Boomer economy. But…
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Do Not Expect Too Much from the End of the World 2023
Locarno Film Festival 2023 #6
Uwe Boll. TikTok. Matsuo Bashō. Ernst Kantorowicz. Zoom. Andrew Tate. Handwritten end credits. A Godardian reappraisal of a Romanian film from 1981. A belated spritual sequel to The Happiest Girl in the World. Nina Hoss. 163 minutes of Radu Jude firing on all cylinders, taking aim at everything from Romania selling itself for parts to Western Europe and the limits of Charlie Hebdo-style caricature ("Aren't you afraid they'll call you a Putinist?") to the intractable…
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After Blue (Dirty Paradise) 2021
Locarno Film Festival 2021 #13
Producer, touring the set: "I must say, Monsieur Mandico, I'm impressed. You seem to have gathered the best team of set and costume designers, makeup artists, lighting technicians, and composers money can buy. This movie will look and sound like a masterpiece. Do you have a script to match this artistry?"
Bertrand Mandico, scribbling stick figures onto a commemorative Kate Bush napkin: "A what?"
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